S_V_H Vivaldi’s “The Four Seasons(Spring)” Largo image1&2

Vivaldi’s The Four Seasons Spring II largo RV 269 the second in a series of 13 works to be completed.

This first image is 120 inches (3.048m) in length by 24 inches (.6m).  The result of this first stage, besides getting my brushes wet again, was to put down different flavors of paint that fit the mood of the music, to see what happens.  That is what you see above, nothing special, only a starting point.  Go to this YouTube link to  Itzhak Perlman’s nice rendition of  Spring.  At about 3 minutes and 20 seconds in, is the beginning of Spring – Largo.  This movement in Spring, is certainly not a favorite, but throwing some paint at it, will put the art and the music in the right light.

Now, this second image is where serious considerations begin to come into play.  The first image has a lot of movement across the canvas, but that has been slowed with the added horizontal brush strokes. Also, the edges where, either sharpened , or better defined, too pull the three parts together. A change, of lately, is that the backgrounds do not have to have that finished look, which  previously meant that a background had to be able to stand on their own, like a separate artwork.  Now, the thought is to work up a good, basic background, and than adjust it when the music comes into play.  That makes more sense, and what comes from experience, which is a good teacher as long has it is not an end in itself.   That is important, especially for a person of my age.  It is good to let-it-fly at times just to see what sticks.

Listening to Itzhak Perlman  and Vivalidi’s Spring.

From here, starts the next challenge.  A number of put-on canvases of different sizes have been prepped.  The music flow will be placed and worked into a good fit, and then the add on canvases will be figured out,  than attached,  which will give this work some life.  Green will still be the dominate color, like in  Summer – allegro non molto, but because it is spring, there will be spots of brighter colors across the work to pop it, and to reflect the season.  It makes sense to change the color schema, not only according to the season, but with each movement,  from early, middle, and late in the season.

Piano Man – Billy Joel

Robert Palmer – Bad Case of Loving You

Scott Von Holzen